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Period drama with attitude

It's a costume drama, but it’s a world away from the warm bath experience of most TV period pieces. Jon Creamer reports on Origin Pictures' graphic and disturbing tale of Victorian vice - The Crimson Petal and the White

Although the adaptation of Michel Faber's sweeping and highly detailed novel The Crimson Petal and the White will come to the screen as a four-part BBC2 drama, it was originally to be made as a Hollywood movie starring Kirsten Dunst.

At least it was when ex-BBC films and now Origin Pictures' David Thompson first went after the rights and found that Sony Pictures had got there first. Luckily for him, the movie was never to be and Origin grabbed the rights when Sony backed off. "What I loved about it was its epic sweep," says Thompson. "I didn't see it as a movie. It was too big a book. Too many great books are destroyed when turned into a single movie."
The book is certainly epic, but it's also a very different proposition to what's usually expected from a period drama. Though set in the Victorian era, it's a modern novel and one that's keen to turn over stones to see what comes crawling out from underneath. "I've not done much period drama but I'd always been interested in doing it in a different way," says Thompson. "The book's full of smell and sex and opulence and poverty. It strips the layers off Victorian society and takes you behind the green baize door."

For such a proposition, it was obvious that the look of the film had to be very different to that of a typical costume drama. Says producer Steve Lightfoot: "It's a dark book. In a way it's a sort of riposte to Dickens and the idea that people might be poor but they're happy. Marc [Munden, the director] was keen to get that darkness" referencing third world slums rather than "cheerful chimney sweeps and market stalls."

The epic nature of the book also cried out for a series that could portray a sense of scale. Origin Pictures managed to tie up its BBC2 commission with help from Fremantlemedia (with whom it has a first look deal), Lipsync Post and a Canadian co pro agreement with Cite-Amerique (which meant three weeks of studio shooting in Canada) but, even so, the production needed some ingenuity to achieve that sense of scale. "In a world of diminishing budgets what tends to happen is [shows] get more interior," says producer Steve Lightfoot. "We tried hard to keep the sense of scale and show the world as it would have been at the time."

And to achieve that, the team needed to think beyond London for locations. "Trying to find big Victorian streets in London that are remotely filmable on," is difficult, says Lightfoot. And on a TV budget you can't close them. So the street scenes were done in Liverpool "which gave the piece some real scope." A lot of grand Victorian architecture in London is also a little too perfect, says production designer Grant Montgomery. "The buildings [in the period] were black because of the chimneys and fires. If you're trying to do a decayed kind of Victorian world, London's all cleaned up and very expensive to shoot in."

The locations also took in Somerset House, Waddesdon Manor, Disraeli’s house Hughenden Manor, and a building in Rochester that once served as a brothel. The filming also required the team to take over a private Georgian house that served as the Rackham family home where they repainted and furnished the place while the residents moved into a back room for the duration.

The main location required a lot too. Sugar lives in the Rookery, a slum world of three storey wooden shacks and dirt floors that crouched beneath the Victorian architecture that surrounded it in the St Giles area of London - a tall order to recreate in central London but perfect for Manchester Town Hall. "It's built around an internal courtyard so what you end up with is a more or less triangular inner space that's walled at all sides," says Lightfoot. "We built our stuff into it and it gave us this 360 degree set that we could walk round and shoot in any direction."

The location's closed off nature also meant there were "no problems with controlling traffic," says Montgomery. We could just let loose in there." It also meant the production could dump several tons of earth in there too as well as recreating a traditional Victorian open sewer. "The mud was a big issue," says Montgomery. "It looked like a First World War battle scene, but it gave it the atmosphere that you really didn't want to live down there."

Adapted from Michel Faber's sprawling novel, the drama tells the story of Sugar (Romola Garai), a young prostitute in 1870s London who yearns for a better life. She meets a wealthy businessman, William Rackham (Chris O'Dowd) who feels hemmed in by the strictures of his life and sets Sugar up as his mistress. Although set in the Victorian era, the language and tone of the book and the film are not. Graphic, visceral and disturbing, it is described as the sort of book Dickens would have written if he'd been allowed to.

Director Marc Munden and DoP Lol Crawley felt the script demanded the photography should avoid costume drama cliche and reflect the claustrophobic and unsettling tone: "We tested Canon K35 lenses, which are these old 70s lenses that had an interesting fall off in terms of their focus," says Crawley. "As soon as we started to get physically close to a subject, it was like crawling over them with a microscope. When we had a two shot I would be a foot away pulling focus from a veil to the eyes and back over the skin. So you're really examining the textures and the faces as the woozy, crawling camera wanders around these different textures. Then for the wide shots you jump out to a very low angle. The heads and conversations were played very low in the frame with a lot of negative space so you've got these low, wide angles intercut with these very intense close up, crawling cameras shots."

Although staying faithful to the era was crucial to production designer Grant Montgomery, so was reflecting the story's disturbing tone which meant "bringing in a lot of influences" from outside the period. The brothel was influenced by South America. And we wanted it to be slightly 'voodoo princess' and a really disturbing experience. The walls were painted with deep reds and we patterned Mary Magdalene pictures with Victorian photographic pornography and candles so it becomes sort of shrine. It's definitely not straight period."

TX DATE: March 2011
LENGTH: 4x60-minutes
ON SCREEN TALENT: Romola Garai (Emma, Atonement), Chris O'Dowd (IT Crowd), Gillian Anderson, Richard E Grant, Shirley Henderson, Amanda Hale, Mark Gatiss
CAMERAS: Red One with Canon K35 lenses
LOCATIONS: Various including Manchester Town Hall, Somerset House, Waddesdon Manor

Commissioning editors: BBC drama controller Ben Stephenson and head of BBC2 Janice Hadlow
Exec producer, BBC: Lucy Richer
Producer: David Thompson
Producer: Steven Lightfoot
Director: Marc Munden
DoP: Lol Crawley
Writer: Lucinda Coxon adapted the script from the Michel Faber novel
Production designer: Grant Montgomery
Casting director: Nina Gold

Posted 16 February 2011 by Jon Creamer

Product placement - who wins?

With the new rules for paid for product placement within UK television shows due to kick in this month, Televisual asked who will product placement benefit most; broadcasters or indies?

Vicky Kell
Business manager, sponsorship, placement, funded content, C4

We are hoping that the answer will be "both". Given Channel 4's unique position as publisher-broadcaster and supporter of the indie sector, we're pleased to be working hand in hand with indies to establish and execute the opportunities around this new revenue stream, and are in the process of negotiating how those revenues will be split. In order to run successful product placement campaigns, it is imperative that this is a close working relationship, and we’re looking forward to presenting our first PP opportunities with Hollyoaks to the market, fully in conjunction with Lime later in February.

John McVay
Chief executive, Pact

The new rules surrounding the relaxation of product placement have to perform a balancing act between providing much-needed revenue streams for programmes (which are no longer fully funded by the broadcaster) and maintaining the audience's faith in the content. Pact was very involved in helping to frame the guidelines and this was the principle which underpinned all of our meetings. Going forward, for product placement to work it has to address funding concerns for both independent producers and broadcasters and there needs to be real benefits for both. In the end we need to ensure that product placement produces new revenue.

Sean Marley
Md, Lime Pictures

There's a real opportunity for indies and broadcasters to work together on mutually beneficial projects. Although I understand broadcast commercial teams may want to lead on the majority of deals, it must be true to say that agencies or clients spending the money will want to look the person in the eye who will be responsible for delivery i.e. the producer. It is equally obvious that your average indie won't have as many agency contacts or as much industry intelligence as the sales teams. So, two interlinked, equally important teams playing to their strengths, with a share of revenue that reflects that combined approach and we'll all be happy - as long as both parties act with creative integrity taking priority over commercial opportunity.

Caroline Reik
Sponsorship and brand content specialist, Pulse Films

Product placement will, over time, create a crucial new revenue stream for broadcasters and indies. Indies must keep a firm eye on the way in which products will be used - editorial integrity and clever creative must win through for everyone to benefit. In the short term, ITV is best placed to manage product placement as they work with many in-house producers. Coronation Street and Emmerdale (from the pub to the corner shop) are often cited as perfect opportunities, however commercial broadcasters must demonstrate that product placement can drive additional revenue and not take significant money away from spot advertising and sponsorship.

Posted 11 February 2011 by Jon Creamer

TV's big bang year

2011 will be the year when convergence stops being just a TV industry seminar subject and becomes a reality in the UK's front rooms. This year, Virgin, Sky and Freeview will be joined by Apple, YouView, Google, Games consoles and TV set manufacturers in the battle to be the main box under the living room plasma. Jon Creamer reports on TV’s big bang moment

Sky, Virgin, YouView, Google TV, Apple TV, connected TVs, games consoles - the race is on for each platform, service or box under the TV to become more things to ever more people - a PVR, a catch up service, a video on demand service, a web browser, a social networking machine, a gaming console – and to become the player that effectively owns the front room television.

And it’s a race with so many disparate competitors because there are so many disparate reasons to be running in the first place. TV manufacturers want to differentiate their expensive sets from cheaper rivals and become service providers rather than simply kit suppliers; digital TV platforms need to solidify their position fearing that customers might cut the cord and opt for a “good enough” service through broadband; games console makers want to push their way into the front room and get mum and dad using them too and Google and Apple just want a piece of everything.

So it looks like 2011 is set to be the big bang year for the front room TV as viewers stop sitting back and waiting for the traditional channels to spoon feed them shows and become active, lean-forward users demanding video on demand as they fire off tweets, browse the web and check their Facebook status – all on the same front room plasma.

Well, maybe. It’s well documented that more and more people, particularly the young, are multi-tasking while watching the TV. Sending Tweets or using Facebook on a PC, tablet or smart phone while watching a show is already well established.

According to Futurescape’s Connected TV white paper, the 2010 MTV Video Music Awards saw 2.3m tweets about the show during the broadcast that were flashed up on a big screen on the stage throughout. “We’re already seeing a revolution in ‘social TV’ where viewers are using two screens – their TV and a laptop for instance – to watch TV shows while also interacting with their online social networks and getting extra information,” says YouView ceo Richard Halton. “I think that through apps these activities will quickly find their way onto the single TV screen as applications such as Twitter and Facebook are developed for YouView.”

But while most connected TV services plan apps for Facebook and other social networking activities, the jury is out on whether viewers will want them sharing screen space on the front room plasma or will prefer to keep them to the smartphone or tablet in their hand.

“The front room TV is shared and it’s a very communal experience,” says Fernando Elizalde, principal research analyst at research company Gartner. “It’s not a one-on-one television screen. If you’re in the main room sitting with family and interacting with your friends, that can be bothersome for the rest of the people watching it. What may happen is a companion screen that is in synch with the show you’re watching. So you’re having the social television experience on the companion screen while the main screen is not being impacted by a single viewer’s activity.”

How people end up using social networking apps on their TVs remains to be seen. At the moment, the main use of connected services is simple video on demand, particularly on connected TV sets. “Given where we are in the game, especially with a TV device, it’s going to be led in the early stages by the VoD services,” says Samsung UK’s content manager, Darren Petersen. “After all, it is a TV and people still want to be sitting back and watching TV content to begin with. Consumers understand it. They’re already using VoD on other platforms. In the UK the iPlayer led the way and educated the mass consumer. Consumers are comfortable with that form of consumption.”

VoD is set to increase, but even that will be an evolution rather than a revolution. “What people watch is traditional linear broadcast television. Under 10% of all viewing time is time shifted,” says Oliver and Ohlbaum Associates senior consultant David Cockram. “And the vast majority of that time shifted viewing is PVR time shifted. Only a very small amount is [pure] on demand. Even in Virgin homes, still less than 10% of what people watch is on demand.”  

Just because viewers will be able to demand so much more video on demand with their front room TV, it doesn’t mean they will straight away. “My view is a fairly conservative one but realistic and probably becoming conventional wisdom,” says Cockram. “In five years time, under 20% of all viewing will be on demand. And, under current trends, only 2% of all viewing - i.e. 10% of that on demand viewing, will be pure VoD.” With the rest being shows people have recorded on their PVR.
And that figure is based partly on the fact that pure video on demand has been around for a long time, both in the US and on Virgin in the UK, but has until recently, been a very small part of all viewing. “When it was Hollywood movies, HBO content etc the levels of viewing were tiny. What’s really driven the take up for on demand viewing is high quality content from the linear schedule. It’s people watching more BBC primetime shows they missed last night. It’s not watching box sets or Hollywood blockbusters. It’s UK produced content,” says Cockram.

As ever, content is king, and only those providers that offer the content the viewer wants, or who can partner with someone who offers that content, will thrive.

And that’s already looking like a problem for the nascent Google TV. Despite a tie up with Sony to build the TV sets and keyboard/remotes that it will run on, most of the major networks including NBC, Fox, ABC, CBS and Viacom have said they won’t be making their content available for the service. In the UK, it’s original UK content made by or for the major broadcasters that drives people to video on demand or catch up services, and any service that can’t provide this content, is facing an uphill struggle. “You can’t just throw a device out there that’s got an Internet connection,” says Samsung’s Petersen. “You need to treat each segment of the value chain in the right way. The people who own the content aren’t just going to hand it over to you unless it’s done in the right way.”

TV content aside, the great revolution the new services are offering is putting internet connectivity on to the TV. But the way they do that is one of the big dividing lines. Some have a completely open system like Google TV that will make the entire internet searchable with a browser. Others use an apps based system more akin to an iPhone that lets developers optimise internet applications for the TV platform. Which will prove most popular on the main TV screen is a question that’ll be answered over the next year or two. “We are taking a very different approach to Google TV which is essentially looking to put the internet on the TV screen with a full browser,” says YouView’s Halton. “Our belief is that consumers aren’t looking for that from their TV. YouView is about enhancing the TV experience and respecting the place the TV has in the living room as a shared screen that espouses warmth, and entertainment.”

An open system has the advantage of infinite possibilities, but there’s also the ease of use that comes with an apps based system. “Will the regular person have the will, patience and knowledge to peruse the Internet on these boxes,” says Gartner’s Elizalde. “They want it to be easy to access. Not necessarily limited but it has to be accessible and not complicated.”

With so many offering such a bewildering variety of services and ways to access TV, it’s likely there’ll be some thinning out among the various competing platforms and services, but unlikely that will lead to one dominant player. “There are too many major players in the marketplace for one box to really win out,” says Sony Computer Entertainment’s marketing director Alan Duncan. “The TV market will become more like the gaming market’s been for 30 odd years. We’ve always had competing platforms offering quite similar experiences. The broader TV market will start to see a similar scenario.” Consumers will pick and choose as they do now. “Realistically, we’ll end up with a number of different connected TV platforms, just as we have done for TV over the past few years with Freeview and Freesat and pay TV platforms via satellite and cable,” says Halton.
The real convergence will most likely come from the various platforms and services joining together and offering their services through one box. And the likelihood is, it’ll be the incumbent platforms with their name on the box.

“My view is there won’t be calls for cord cutting,” says Elizalde. “ I wouldn’t be surprised in the long term if most of these over-the-top services are integrated into the traditional pay TV services. If you want to get premium content you still have to pay for it. They will partner together because it’s easier for the consumer to access content that way.”                                                                                                 

Formerly known as Project Canvas, YouView is the platform being put together by the BBC, ITV, BT, Channel 4, TalkTalk, Arqiva and Channel Five. The platform’s first boxes, that will retail at around £200, go on sale from the middle of this year (though YouView admits that date could slip). Essentially, YouView is the connected TV version of Freeview, subscription free but this time combined with the last seven days’ catch up TV as well as on-demand services and interactive extras via a broadband connection. The platform won’t have a browser to search the web, but will allow developers to put together apps made specifically for the platform. Early apps will likely be video on demand applications from companies like LoveFilm as well as services like Skype, YouTube and Facebook. The boxes will also be PVRs. The EPG will incorporate catch up and PVR recordings so viewers can move backwards along the time line and forwards to select shows they want to record in future.

Essentially a standard TV with a broadband connection. Manufacturers like Samsung and Sony are leading a major push into developing and marketing their TVs’ connected abilities. By 2014 it’s estimated that 54% of flat panel TVs shipped globally will have internet connectivity and services. Up until now, many customers who bought connected TVs had simply not got around to connecting them to the net but, say the manufacturers, a lot of this was down to manufacturers instead concentrating on pushing their sets’ 3d capabilities instead of their connected ones. Connected TVs, like YouView and Virgin Media, work with a suite of apps developed specifically for them rather than going for a full on web browser experience. Samsung recently announced the one-millionth TV app downloaded globally from its app store with some of the most frequently downloaded apps in the UK being Lovefilm, iPlayer, Muzu.TV, Acetrax, Facebook and Twitter.

It’s already rolled out in the US but has already run into major problems over what content will be available as most of the major networks including NBC, Fox, ABC, CBS and Viacom have said they won’t be making their content available for the service. Google TV is the player that aims most fully to put the internet on to the living room TV. The entire internet will be searchable rather than limiting itself to an apps-based system where certain providers optimise their sites specifically for a particular platform, though Google TV will have apps as well. Google TV is pushing multi-tasking, the idea of splitting the screen as users wish so they can both surf the web, check Facebook and watch TV all at the same time. Users have to buy a new piece of kit, either a new TV that comes with qwerty keyboard remote, a box with a keyboard from Logitech or a Sony Blu Ray player/Google TV and qwerty remote combined.

Virgin Media’s new box, which went on sale late last year, extends the Virgin Media video on demand capabilities with a TiVo PVR recorder that comes with a 1tb disc and adds and a 10Mbps modem for VoD and online services. Like YouView, which launches later this year, the Virgin box, though connected to the internet, is not aiming to be a browser that can turn the TV into a PC screen. It will also offer apps created specifically for the platform through its own app store with Youtube, Twitter and ebay already available. The Virgin box’s EPG will also try and blur the distinction between live TV, catch up TV, recorded programmes and pure video on demand, with viewers scrolling along a time line and clicking on the shows they want or using search functions to find content. Like a standard TiVo machine, Virgin’s box recommends shows based on the user’s past viewing and shows can be rated by other Virgin viewers using the red button. Viewers can also build wish lists so the box can automatically record shows with a certain theme or featuring a certain actor or director for instance.

Sony’s Playstation 3 and Microsoft’s XBox are both pushing their respective consoles’ TV content capabilities. Most recently it was Playstation 3’s turn with the console adding ITV Player and 4oD to sit alongside the BBC’s iPlayer that users can already access through the console. Playstation 3s already have a web browser, access to Lovefilm downloads as well as other VoD services, live music video collections, links to personal photo album services like Picasa and a soon-to-launch music service along the lines of Spotify. Microsoft’s Xbox already has a hook up with Sky Player that allows its users to buy a Sky subscription and watch standard and premium Sky channels. Users can also download Hollywood movies through Xbox’s Video Marketplace and listen to music through

Sky is extending the scope of its Sky+ PVR with Sky Anytime+ that adds a large VoD service to its standard services with Hollywood movies from the Sky Movies collection as well as classic sports, entertainment, kids shows and docs. Sky is, for the moment, eschewing any of the internet apps that Virgin Media, YouView and other providers are also adding to their boxes and sticking to the straight VoD proposition. It also has Sky Player, another subscription offering, but one that can be used on other platforms aside from a Sky box like PCs and the Xbox. Users buy a subscription to the service, which lets them view Sky channels and its premium content.

Posted 11 January 2011 by Jon Creamer

PS3 and the TV

Sony's announcement that ITV Player and 4oD will be joining the BBC's iPlayer on its Playstation 3 gaming consoles is one more small step towards the reality of convergence in the UK's front rooms.

With web connected TV sets now becoming prevalent, Virgin launching its new TiVo box that can access the web, YouView planning to launch with internet connectivity built in next year and other web/TV services like Apple TV and the soon to launch Google TV in the mix, convergence isn't simply a seminar subject at NAB or the Edinburgh TV Festival any more.

The race is on for each box under the TV to become more things to more people - a PVR, a catch up service, a VoD service, a web browser, a gaming machine - and to become the box that effectively owns the front room TV.

For a games console like the PlayStation 3, offering catch up TV through its box is a way of broadening its user base within the whole family. "One of our jobs is to install PlayStation 3 in to as many UK homes as possible," says PlayStation's UK marketing director Alan Duncan. "If your only offering is games, that can limit your possibilities so a catch-up TV service is a very good way of broadening the appeal of PlayStation 3 and broadening the value proposition in people's minds, both in terms of purchase and how many people in the family are going to use the console."

He said that in the UK 50% of PlayStation 3's connected audience, which is over 80% of the total user base, already use iPlayer through their PS3. "This is a great way to introduce PlayStation into people's homes and make them more aware and accepting of the other things we do."

Playstation 3s already have a web browser, access to Lovefilm downloads as well as other VoD services, links to personal photo album services like Picasa and a soon to launch music service along the lines of Spotify.

"The policy is we're interested in partnerships with the major players," says Duncan. "The TV manufacturers are tending to scoop up lots of services on their integrated internet TVs. We're not interested in offering all the niche services because it's not our core business. We're offering so many other services it would become too cluttered and technically too difficult."

Posted 13 December 2010 by Jon Creamer

Banksy revealed

If you missed the recent Animated Encounters Festival in Bristol, you may have missed this short that finally revealed the true identity of graffiti artist Banksy.
The Aardman short was commissioned by Encounters for its Graffiti Animation section.
Morph vs Banksy was made by director/animator, Chopsy; producer, Lida Nassif; model maker, Enty; lighting, Nat Sale; camera assistant, Joe Maxwell; compositor, Spencer Cross and editor, Nikk Fielden

Posted 08 December 2010 by Jon Creamer

Creative round up

Great work from Nexus, Blue Zoo, Aardman, Joyrider, Loose Moose and Amazing Spectacles.

Nexus was commissioned by Leo Burnett to create this live action spot for Nintendo DS. The oversized DS set was a fully workable machine, operated by the children to create the impression of a DS in use. The producer was Isobel Conroy and the directors were RBG6.

Blue-Zoo created two Christmas themed idents and an accompanying graphics package for Disney XD in EMEA and the US. The animation directors were Mike Wyatt and Damian Hook. Design was by Denis Constantinou.

Disney XD Christmas - Robot from Blue Zoo on Vimeo.

Ireland’s National Consumer Agency brought in Aardman director Chopsy to direct this commercial, Heads, in which a confused consumer sees the world a little more clearly by logging on to the NCA website. The ad uses stop-frame puppets in a world made of ‘foam-core’. All the buildings and props were constructed out of foam-core with the designs enlarged, then printed out and stuck on top.

Commissioned by Publicis, Joyrider created this spot with The Found Collective for UBS and Formula One where sections of F1 tracks are brought to life in a stylised graphical treatment that merges a cut and paste photocopy style with 3d.

UBS - 'THE LINE' - 30" from the found collective on Vimeo.

This is a Christmas short made at animation house Loose Moose by young Czech animator Veronika Jelínková, with the help of head of cg, Dave Loh. It was created with a combination of Maya and After Effects.

LooseMoose Ident from Veronyka Jelinek on Vimeo.

This is new animation studio Amazing Spectacles’ first job, the winter TV campaign for firelighter and ignition brand Zip. It was directed by Martyn Pick who worked with Prime Focus senior animator Andi Farhall.

Posted 06 December 2010 by Jon Creamer

Watch with Nexus

Nexus Productions' Clemens Habicht produced four stunning idents through creative agency Harriman Steel, as part of their rebrand of UKTV's Watch channel (click on pic below to view).

The idents have the strapline Watch together so each shows an everyday scenario where things are better shared (a picnic, a night out, a night in, a café). They were created using Japanese black theatre techniques where puppeteers swathed in black move people and objects around the scene.

It was filmed entirely in reverse as a single take on steadicam, with all effects achieved in camera.  Using varying shutter speeds, the film was then played back at 25 fps, to slow things down and create the magical, floating effect.  Black costumed people (later graded so that they would disappear from view) created the storm of things and people arriving in the scenes.  

Agency: Harriman Steel
Creative Director: Julian Harriman
Agency Producer: Beth McQueen

Production Company: Nexus Productions

Director: Clemens Habicht
Executive Producers: Charlotte Bavasso and Christopher O’Reilly

Producer: Isobel Conroy 

Production Manager: Alistair Pratten
Director of Photography: Nick Bennett
Art Director: James Hatt

Posted 03 November 2010 by Jon Creamer

D&AD's multilingual shout out

International design and advertising awards body, D&AD, put out its call for entries for this year’s awards with a live address in 13 languages in the style of a US presidential state of the Union speech.

D&AD president, Sanky, gives his call to creativity from a presidential lectern in all 13 languages in turn or viewers can click on their own language to view the address in just one.

Work Club created the campaign for D&AD that needed to stress the international nature of the awards whilst being “true to its British DNA.”

As the campaign progresses over the next weeks and months, Sanky the president will deliver a number of other speeches, including a Xmas message.

Posted 03 November 2010 by Jon Creamer
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